PROPERTY FORMERLY FROM THE ESTATE OF ROBERT L.B. TOBIN, SOLD TO BENEFIT THE TOBIN ENDOWMENT
BICKHAM, George, the Younger (d. 1758). The Musical Entertainer. London: Printed for and sold by George Bickham (Vol. I); Charles Corbett (Vol. II), [1737-1739 or later].
細節
BICKHAM, George, the Younger (d. 1758). The Musical Entertainer. London: Printed for and sold by George Bickham (Vol. I); Charles Corbett (Vol. II), [1737-1739 or later].
2 volumes bound in one, 2o (380 x 237 mm). All engraved, with title and contents leaf to each volume, and 200 plates, numbered 1-100 in each volume (repaired tears crossing image of plates 10 and 27 in the first volume, some occasional light browning and soiling, generally very clean). Modern red morocco gilt by Riviere (some light rubbing to joints, few scuffs on rear cover). Provenance: R. Meyer (signature on verso of final plate).
Bickham was principally known for this engraved work, first issued in fortnightly parts, each with four plates, between January 1737 and December 1739. A second edition was also brought out in parts 1740-41, and a third, printed from the original plates, was issued by John Ryall in 1765. The 200 plates are songs by Purcell, Handel, Haydn, Corelli, Pepusch and others, each headed with an engraved vignette, and quite apart from their musical interest they provide fascinating insight into the social life of the time. Eight of the designs are after Gravelot, and in Ray's opinion many others were imitated from Watteau's Oeuvre, leading him to say the song book "may almost be regarded as French." Cohen-De Ricci: "recueil fort rare"; Grove II, p. 694; Ray 12.
2 volumes bound in one, 2
Bickham was principally known for this engraved work, first issued in fortnightly parts, each with four plates, between January 1737 and December 1739. A second edition was also brought out in parts 1740-41, and a third, printed from the original plates, was issued by John Ryall in 1765. The 200 plates are songs by Purcell, Handel, Haydn, Corelli, Pepusch and others, each headed with an engraved vignette, and quite apart from their musical interest they provide fascinating insight into the social life of the time. Eight of the designs are after Gravelot, and in Ray's opinion many others were imitated from Watteau's Oeuvre, leading him to say the song book "may almost be regarded as French." Cohen-De Ricci: "recueil fort rare"; Grove II, p. 694; Ray 12.